Blog

Plein Air: Strategy and Reconnaissance

Summer is the time  for Plein Air painting.  Last Summer I took a break from the studio (I miss it though!)  to teach some workshops and plein air classes.  When painting on location one of the questions that keeps popping up is how do I decide what to paint?

Painting outdoors certainly can be overwhelming. But remember, you don’t just arrive at a spot and find something brilliant to paint.  There is some work that goes in beforehand:

Strategy

Strategize for successful paintings.

I am   brutally honest.  I try not to be seduced by something “interesting” An old gnarled tree might be fascinating, but if it is all middle values it will NEVER work.  When I choose a subject for plein air painting it must have a full range of values with a lightest light and a darkest dark, without good value contrast it will never work.  It must have a strong focal point: remember a focal point is not necessarily a thing; it is an area of visual interest, it is the compositional point of the painting.  The focal point is usually located where the darkest dark and lightest light and most interesting color and brushwork are found. 

I use a viewfinder grid that is divided into thirds to help sort things out and work out a composition.

I look for ways to crop in and simplify what I see. 

Because a simple design will be:

 A. easier to paint in two hours.

 B. create a strong composition.

Strategize for optimal views at optimal times.

I am always looking for potential plein air spots, 24/7. This is a natural part of country living, I keep a journal in my sketchbook of places, specific compositional ideas and notes at to time of year, and specific time of day when shadows and lighting are optimal.  I can refer to this when thinking about where to go and what time.  At home in Ramona, good example is Mt. Woodson in Highland Valley.  Once a year in December when the angle of the sun is low Mt. Woodson turns salmon pink at sunset, the colors are gorgeous, but only for a few weeks out of the year at dusk. 

Strategize by being ready, and having a plan.

When I return from a plein air session I clean my palette and brushes well and restock my Open Box M and backpack.  I have a list of supplies that I can check.  When I go plein air painting I know where I am going the night before.  My gear is packed and in the car. I check the NOAA weather forecast and set the alarm.  All I have to do then is get up and go no delays no chance for artistic U turns.  It is even a good idea to skip fixing coffee and pick up something on the go, if you can. 

Reconnaissance

I am always looking for potential spots, and thinking about compositions.  Sometimes a plein air session does not work out, bad weather rolls in, or I am missing some essential piece of equipment (yes I have forgotten my tripod, or my tube of white paint on occasion!)  When you have lemons, you make lemonade, right?  This is a good opportunity to take a walk: go on a recon mission and find some new painting spots and compositions.  What started out as a disaster can become a blessing in disguise.

Reconnaissance is also an essential part of plein air painting when you travel.  When I arrive at my destination I spend a day or two exploring and getting a feel for the new surroundings. I go out early and late to scout out spots. I rest up- painting is hard work.  I check the weather for the next few days to fine tune my painting times.